Welcome to the exciting Second Season of the Missouri
Chamber Music Festival (MOCM)! We are delighted to
celebrate with you our love of chamber music and hope that
these MOCM concerts will continue to inspire you long after
the final notes ring.
We are enthusiastic to have many new and wonderful musical
artists to share their talents with us this season as well as
some familiar faces from last year. We are sure you will
recognize some of our gifted musicians from right here in St.
Louis in addition to MOCM’s returning artists. MOCM offers
a unique time for our artists to collaborate and we hope that
you’ll be energized by their musical voices. MOCM is a celebration of the art of chamber music, from pen to performance.

Thank you for being a part of MOCM’s second season and for
your continued support!

Please sit back and enjoy the music this evening. We look
forward to meeting and speaking with you at the reception
in the Parlor following each concert. We hope that you can
experience all the MOCM concerts this season or a preperformance discussion with Composer-in-Residence Lansing
McLoskey (June 22 and June 23 at 6:30 pm).

Phantasy Program Notes
It is supposed that French composers have not been concerned in their music with the thought provoking issues of
people and the universe, but instead, paint aural canvases of
elegance and refinement, of cool detachment or voluptuousness. Jean Françaix (1912–1997) conforms to this stereotype
in much of his output, and, along with Francis Poulenc, he is
possibly the most “French” of 20th-century composers, in the
sense of being debonair and lighthearted, a composer of wit
and unabashed sentimentality. A fine pianist, Françaix took a
first prize for piano at the Paris Conservatory when he was 18.
In 1932, while a composition student of Nadia Boulanger, he
composed a Piano Concertino that forthrightly presented his
Parisian credentials by revealing, at the tender age of 20, both
a highly developed skill and a distinct musical personality. The
next year he composed the String Trio, an especially successful piece of modest proportions dedicated to the Pasquier
Trio, a distinguished family ensemble eminent in French musical life during that time. This concise and vivacious work is a
celebration of the neoclassical movement that was in vogue
at the time. The opening movement is a lively yet intimate
conversation among the three instruments, all of them played
with mutes, and the viola has a motif spelling the name Bach
in reverse, the notes B, C, A, B-flat corresponding to HCAB
in German notation. The Scherzo that follows, played without
mutes, is unrestrainedly dynamic. With mutes in place again for
the songlike slow movement, in A minor and in rondo form, the
violin becomes soloist, accompanied gently by the other two
instruments. C major returns, and the mutes are gone again, in
the Finale, which outdoes the Scherzo in sheer, effervescent
drive (it has been described as a chamber-music cancan). The
work ends surprisingly softly, though, fading away in a gentle
yet pointed pizzicato gesture.
Benjamin Britten (1913–1976) wrote his Phantasy Quartet for
Oboe and Strings when he was nineteen and enrolled at the
Royal College of Music. He felt that he wasn’t learning much
there, and later remarked that “when you’re immensely full
of energy and ideas, you don’t want to waste your time being
taken through elementary exercises in dictation.” Britten didn’t
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think much of the Royal College faculty, and they hardly knew
what to make of him and his already modern style. When he
entered the College at age 16, one of the professors who
examined Britten for a scholarship said that he didn’t think it
was decent that an English public schoolboy of Britten’s age
should be writing that kind of music. The Phantasy Quartet was
written for a competition for single-movement chamber works
established by Walter Wilson Cobbett, a wealthy amateur
musician and professional writer of chamber music. The Cobbett competition had drawn Phantasies from some of Britain’s
best: winners included Frank Bridge and John Ireland. In 1932,
Britten won the Cobbett Prize for his Phantasy String Quintet.
That Fall, he composed the Phantasy Quartet that you will
hear this evening. It did not win another Cobbett Prize, but it
did get performed in a BBC radio broadcast in August 1933 by
Leon Goossens, the leading English oboist of the day. Britten
wrote in his diary “Goossens does his part splendidly. The rest,
although they are intelligent players, aren’t really first class
instrumentalists.” Nonetheless, the broadcast, and a concert
performance by the same players that November, did much to
establish Britten’s reputation in Britain. The London Times critic praised its originality, and added that “by comparison John
Ireland’s 15-year-old pianoforte trio sounded old-fashioned,”
making it clear which way the future was heading. A festival
performance in Florence the following year gave a big boost to
Britten internationally. The Quartet has a formal intricacy that
fascinates analysts but does not affect the piece in live performance. It has been characterized as an “arch,” as two sonatas
superimposed on each other, and, perhaps most helpfully, as a
sonata with a slow movement inserted between the development and recapitulation. In the introduction (marked andante
alla marcia), the oboe stays aloof from the strings, singing while
they march. A quicker section follows in which themes are
introduced and developed. Where the recapitulation would
normally arrive to reestablish familiar material, Britten instead
has something completely different in both music and instrumentation: a slow section without the oboe. When it finally gets
around to recapitulation, the music returns in a mirror image
of the way it first arrived: first the quick exposition, then the
opening slow march. At the last, the lone cello repeats the first
seven bars of the piece, in reverse order.
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The life of Carl Maria von Weber (1786–1826) can be summed
up like so many other artists in the springtime of the Romantic
Era—brilliant, but brief. As well as being a composer, he was
also a conductor, virtuoso pianist, poet, and music critic. However, his major contribution to music was in the field of opera,
and German opera in particular. Musicologist David Ewen
wrote: “The operatic road that leads to Richard Wagner has
many milestones but none more important than Weber. No other single operatic composer influenced Wagner so decisively as
Weber (as Wagner himself was not slow to confess). For Weber
not only established German opera, as opposed to the Italian
type, exploiting folk elements, borrowing from Germanic traditions and superstitions, filling his work with the love of German
landscape, forest, and village, saturating it with Germanic atmosphere and ideals. Further, he made more than one suggestion
of what the music-drama should be, anticipating the Wagnerian
revolution.” This all has little to do with chamber music, and, in
fact, Weber composed very little chamber music. Excepting his
works for solo instrument with piano accompaniment, he wrote
only the Piano Quartet, op. 18, the Trio for Flute, Cello and
Piano, op. 63 and the Quintet for Clarinet and Strings op. 34
of 1815. Rather than intricate interplay among the instruments,
where all have an equal voice in the discourse, Weber’s Clarinet Quintet is more like a concerto with clarinet as soloist and
the strings as an accompaniment. This is not a surprising way
for an opera composer (used to writing for dramatic characters
and writing arias) to approach such an ensemble. Weber wrote
his quintet for the outstanding clarinetist of the Munich Orchestra, Heinrich Bäermann. Weber was so taken with Bäermann’s playing that in 1811, he lovingly composed two clarinet
concertos and a small concertino for him. He also started work
on the Quintet, but did not complete it until four years later on
August 25, 1815, the day before the premiere performance.

Please join us for a reception in the Parlor after the
performance.
Translations
Gestillte Sehnsucht (Stilled Longing)
Friedrich Ruckert (1788â&#x20AC;&#x201C;1866)
Steeped in a golden evening glow,
how solemnly the forests stand!
In gentle voices the little birds breathe
into the soft fluttering of evening breezes.
What does the wind whisper, and the little birds?
They whisper the world into slumber.
You, my desires, that stir
in my heart without rest or peace!
You longings that move my heart,
When will you rest, when will you sleep?
By the whispering of the wind, and of the little birds?
You yearning desires, when will you fall asleep?
What will come of these dreamy flights?
What stirs me so anxiously, so sweetly?
It comes pulling me from far-off hills,
It comes from the trembling gold of the sun.
The wind whispers loudly, as do the little birds;
The longing, the longing - it will not fall asleep.
Alas, when no longer into the golden distance
does my spirit hurry on dream-wings,
when no more on the eternally distant stars
does my longing gaze rest;
Then the wind and the little birds
will whisper away my longing, along with my life.
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Geistliches Wiegenlied
Emanuel von Geibel (1815–1884)
(based on text by Lope Felix de Vega Carpio, 1562–1635)
You who hover
Around these palms
In night and wind,
You holy angels,
Silence the treetops,
My child is sleeping.
You palms of Bethlehem
In the roaring wind,
How can you today
Bluster so angrily!
O roar not so!
Be still, bow
Softly and gently;
Silence the treetops!
My child is sleeping.
The child of heaven
Endures the discomfort,
Oh, how tired he has become
Of earthly sorrow.
Oh, now in sleep,
Gently softened,
His pain fades,
Silence the treetops!
My child is sleeping.
Fierce cold
Comes rushing,
How shall I cover
The little child’s limbs?
O all you angels,
You winged ones
Wandering in the wind.
Silence the treetops!
My child is sleeping.
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Glisten Program Notes
In 1863 violinist Joseph Joachim married the distinguished
mezzo-soprano Amalie Schneeweiss. Musical collaborators
for Johannes Brahms (1833–1897), as well as close personal
friends, they later had a son, named Johannes in his honor.
The composer wrote an enchanted cradle song, “Geistliches
Wiegenlied,” (Sacred Lullaby) for his namesake, which
Amalie could sing with Joseph playing the viola, Brahms’s
favorite string instrument. But the marriage became troubled
by Joachim’s paranoid delusions about an affair he imagined
Amalie had. Hoping to bring them together, Brahms reworked
the lullaby and wrote a new song, “Gestillte Sehnsucht” (Stilled
Longing). Blissfully domestic as the song was, it failed to repair
the rift, and when Brahms took Amalie’s side in the subsequent
divorce proceedings, Joachim extended the broken relationship to include Brahms as well. Brahms published the 2 Songs,
Op. 91 in 1884. Images of wind in trees, calming in “Gestillte
Sehnsucht,” yet alarming in “Geistliches Wiegenlied,” unite
the two songs. Friedrich Rückert’s “Gestillte Sehnsucht” was
the kind of nature poem to which Brahms was very partial,
with woods, birds, and wind summoned to whisper the world
to sleep. Brahms gives the viola an independent tune, which
the voice then uses as a refrain, with rustling broken chords in
the piano supporting the whole. Desires, always stirring, are
presented in the urgent minor-key middle section, then are
quelled by nature in the return to the initial material. Despite
its spontaneous feeling, “Geistliches Wiegenlied” is quite
cleverly constructed. It begins with the viola playing the wellknown medieval Christmas carol “Joseph, lieber Joseph mein.”
(Brahms wrote the words under the tune, probably as a hopeful
nudge to Joseph Joachim’s familial instincts.) The voice comes
in with an entirely different melody and a different text than
the one the viola had clearly suggested. As with the first song,
the middle section of this three-part song shifts to agitated
minor mode for suffering and pain, and here even changes
meter. Mary’s pleading remains consistent, however, and peace
returns, with the viola giving the old carol again as a final
benediction.

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Ludwig van Beethoven’s Piano Trio, Op. 121a, is a set of variations on “Ich bin der Schneider Kakadu,” from a singspiel by
Wenzel Müller (1767–1835) that premiered in Vienna in 1794.
The variations were probably composed in 1803, however they
were not published until 1824. Beethoven’s Kakadu variations
were composed in the same year as the “Waldstein” Sonata,
Op. 53. The variations show none of the harmonic exploration
or motivic manipulation characteristic of the sonata. Beethoven
likely wrote the piece to be accessible and sell widely, which
is why he chose a popular theme. The Adagio introduction
begins in G minor with a unison descending figure. A new
motive appears when the repeated chords begin in the piano,
after which Beethoven touches on B flat major, but does not
commit, preferring to head back to G minor. The opening and
secondary motives mingle as the dynamic level grows. Müller’s theme is in two parts, the first tune consists of two fourmeasure segments that each carry an arching melody, while
the second part contains two eight-measure sections. Variation
No. 1 is entirely the property of the piano. The second variation
proceeds without cello, the rapid violin part moving in triplets
over the duple rhythm of the piano part. The cello takes center
stage in the third variation, maintaining the basic shape of the
theme but none of its details. The proceeding variations more
intricately intertwine the instruments until, finally, we reach the
ninth variation, marked “Adagio.” The slow tempo allows this
to be the most decorated variation of the set. The major mode
returns in variation No. 10, in 6/8 meter, followed by the two
variations of the coda that end the work in G major.
Lansing McLoskey (b. 1964) came to the world of composition
via a somewhat unorthodox route. The proverbial “Three B’s”
for him were not Bach, Beethoven, and Brahms, but rather, The
Beatles, Bauhaus, and Black Flag. His first experiences at
writing music were not exercises in counterpoint, but as the
guitarist and songwriter for punk rock bands in San Francisco
in the early 1980s. It was actually through these years in the
visceral world of punk that he first developed a love for
classical music. His music has an emotional intensity that
appeals to academics and amateurs alike, defying traditional
stylistic pigeonholes.
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Mr. McLoskey writes:
“Glisten is the third in a triptych of works which deal with the
visual phenomena of light, reflections, glazes, and surfaces. The
first is Tinted (also for piano trio), and the second is Glaze (for
brass quintet and drum kit). The concepts I was interested in
exploring are somewhat subtle and imprecise, such as glimmer,
shimmer, gloss, glaze, sheen, and luster. These evoke not only
very subtle visual differences, but also imply action and altering
perceptions. When an object is glazed, for example, the
exterior is coated with some sort of translucent material which
then alters the tint, changes the texture, and reacts with light
giving it a glossy, reflective, or flat quality. Rather than taking
these ideas literally (as literally as one can represent visual
phenomena in sound), I often took them as inspiration for
process as much as for the aural result, leaving an open-ended
interpretation for the listener.”
With a great artist, it is fascinating to explore the earliest works,
searching for the first traces of individuality and hints of what
would follow. In 1798, Ludwig van Beethoven began working on
his first string quartets, which he completed in 1800, the same
year he composed his first symphony. From his “early period,”
these are, nonetheless, well known within the standard repertory. Even earlier than the quartets, one discovers another,
lesser known string chamber work of striking originality: the
String Trio Op. 9, No. 3 in C minor of 1797. Beethoven was
experimenting in his early trios with the interplay and possibilities in chamber music for strings. As a prelude to the great
quartets he had yet to write, the third trio of Op. 9 stands out.
It features the key of C minor that would inspire some of his
greatest compositions, and it displays a masterful handling of
chamber music texture, even before his first string quartet.
Strikingly, the work fully reveals the unmistakable personality of
Beethoven. An element of this vivid personality is the contrast
of minor and major keys. The dark key of C minor permeates
the trio while its relative major key battles to insinuate itself in
the drama. The essential drama of mode and contrast occupies
three of the four movements. They are vigorous, authoritative,
clever, and characteristic of Beethoven who was a genius at
making a sermon out of a few simple declarations. The second
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movement Adagio is perhaps the deepest prize of the trio. It is
unapologetically in C major, poised and graceful with
unaccented rhythms and a slower pace, singing with a quiet lyricism. The themes are simple, but they are transformed through
a fluid interchange of voices across a wide range of musical
and emotional terrain. Within this very early work one finds a
defining aspect of Beethovenâ&#x20AC;&#x2122;s musical personality, his uncanny
ability to transform simplicity into nobility, the common into the
universal.

Lansing McLoskey’s music is described as having “a bluesy
edge and infectious punch” by Gramophone Magazine. He has
received commissions from Meet The Composer, the National
Endowment for the Arts, Pew Charitable Trusts, The Fromm
Foundation, ASCAP and the Barlow Endowment among many
others. Mr. McLoskey completed a PhD at Harvard University,
where he directed The Harvard Group for New Music. He
holds degrees with honors from UC Santa Barbara and the
USC Thornton School of Music, with additional studies at The
Royal Danish Academy of Music. His principal teachers were
Mario Davidovsky, Stephen Hartke, Bernard Rands, and Donald Crockett. Mr. McLoskey’s book Twentieth Century Danish
Music remains the only comprehensive research guide on the
topic, and he was awarded the Haug Prize for Scandinavian
Studies in recognition of his contributions to the field. Processione di lacrime was written for saxophonist Philipp A. Stäudlin
and Chameleon Arts as part of the Dance Suite Project with
Composers in Red Sneakers and Dal Suono Sommerso (Rome,
Italy). The composition won the 2009 “Music Now” Chamber
Music Composition Competition at the ISU New Music
Festival. Tonight’s is the first performance of the work in a
version utilizing the English Horn in place of alto saxophone.
Mr. McLoskey comments:
“In Processione di lacrime (“Procession of Tears”), I took
various characteristics of the pavan and incorporated them into
the piece: slow tempo, processional, simple, repetitive, duple
meter, and a feeling of longing or melancholy. In this
procession, however, nobody marches in lock-step: Each player
plays a repeated ostinato figure in duple time, but in different
tempi simultaneously, so that the parts do not align. The result
is both simple yet complex, like two people dreaming of
dancing together... but never actually dancing in real life.”

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Jean Françaix (1912–1997). The very name has an unmistakable
lilt to it. That his music resonates with the Parisian flair of his
name is a happy circumstance. Turning away from the atonal
and 12-tone music that was filling the air during the heart of his
compositional career, Françaix followed his own muse,
composing unproblematic tonal pieces that flourish in
gracefulness, freshness, and spontaneity. His harmonic
language is an updated traditional one: enriched chords,
beautiful dissonances, and unprepared modulations flesh out
compositions that defy the academic and determined norms of
twentieth century music composition. The Quartet for English Horn and Strings was composed in 1971, a year that saw
little else come from the his pen. The unconventional instrument combination of English horn and strings clearly sparked
Françaix’s inventiveness, which begins in a first movement that
doesn’t lose a moment in taking off on a cheeky ragtime escapade. Of the work’s five movements, the first, third, and fifth
are strictly fun and games, clever, insinuating, and slyly sophisticated. These are set off by a sweetly expressive second movement, in which the colorful quality of the English horn is especially eloquent, and a reflective fourth movement that takes a
brief glance at life in the Parisian fast lane.

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Antonin Dvorák’s sublime Piano Quintet in A Major occupies
a lofty place in the chamber music repertoire. It has a sonic
grandeur matched only by the magnificent scale and span of
two other works for string quartet with piano, from Schumann
and Brahms. Dvorák’s dynamic handling of the ensemble is
superb in terms of color, the fluid intermixing of vivid, individual
parts with a transparent texture using a brilliant range of scoring techniques. Dvorák’s direct and poignant lyricism begins
with the very first measures for piano and cello and it continues
to bubble up in fresh new springs of melody. Combining color,
melody, rhythmic vitality, fine ensemble balance, a brilliant handling of form, and Dvorák’s unmistakable voice, the result is one
of the greatest chamber music works ever written. The opening
sonata movement is stretched between two poles, a voice of
intimate lyricism, tender to the point of breaking, and a driving,
restless force. The cello sings a soulful, intimate outpouring that
is answered after a vast expanse of music development, by a
kindred violin. This haunting tune reappears in many guises but
always intermittently, providing a glimpse before hiding again
in a swelling wave of motion. Dvorák’s handling of dramatic
sonata form is masterful: the entire exposition flows unbroken
in a single sustained gesture into the ensuing development and
return home, so satisfying with its sense of complete exploration. The slow movement, Dumka, is a Dvorák specialty: from
an widely dispersed folk ballad tradition in Eastern Europe,
a somber, slow lament alternates with music of much greater
vitality like a lively village folk dance. The most colorful textures
of the quintet are found within this movement. The scherzo is
a marvel of athletic bounding joy, light as a feather with an effervescent grace. The trio is made from exactly the same notes
as its outer counterparts, the same melodies and motifs slowed
way down into a transformed variation that reverberates with
memories of its former self. The finale is in some ways the most
traditionally “developed” of the four movements in terms of
rhetorical storm and stress, tension and release. It nonetheless has much simple and special tunefulness that distinguishes
almost all of Dvorák music, a warm, friendly familiarity, with a
welcoming sense of coming home.

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Artist Biographies
Scott Andrews, clarinet
Praised as ‘’elegant’’ in the Boston Globe and ‘’extraordinary’’ by the
New York Times, Scott Andrews has been critically acclaimed in solo
and chamber music performances across the country. A sought-after
collaborative musician, Mr. Andrews has performed with many of today’s leading artists, including Jaime Laredo, Robert Mann, Christian
Tetzlaff, and Christopher O’Riley. An avid proponent of new music, he
has performed with organizations such as Composers in Red Sneakers and the Auros Group for New Music. Mr. Andrews has appeared
with the Ying String Quartet, the Calyx Piano Trio, and the Boston
Symphony Chamber Players among many others. Mr. Andrews has
been Principal Clarinet of the St. Louis Symphony since 2005. Before
joining the St. Louis Symphony, Mr. Andrews had been a member of
the Boston Symphony Orchestra for 11 years and also performed with
the Philadelphia Orchestra and the Saito Kinen Orchestra. He has
lectured and given classes throughout the United States as well as in
Europe and Japan. Mr. Andrews was for many years the Woodwind
Department Chair at Boston Conservatory and a faculty member of
the Tanglewood Music Center in Lenox, MA. He continues to collaborate often with Seiji Ozawa in Japan at the Saito Kinen Festival and
with the Mito Chamber Orchestra. In addition to his work with the
St. Louis Symphony, to expand upon his love of chamber music, and
to promote and further the art of contemporary music, Mr. Andrews
founded the Missouri Chamber Music Festival with his wife, pianist,
Nina Ferrigno.
Amadi Azikiwe, violist
Amadi Azikiwe has been heard in recital throughout the US. Mr.
Azikiwe has also been a guest of the Chamber Music Society of
Lincoln Center and has appeared in recital at the Piccolo Spoleto
Festival in Charleston, on the “Discovery” recital series in La Jolla, at
the International Viola Congress, and at the American Academy of
Arts and Sciences. He has also performed in Israel, Canada, South
and Central America, India, Japan, Hong Kong, and throughout the
Caribbean. As a chamber musician, Mr. Azikiwe has appeared in
concert with the Chicago Chamber Musicians, the Chester, Miro, St.
Lawrence, Anderson, Arianna, Harrington and Corigliano quartets.
He was also a member of the Concertante Chamber Players, and is a
former member of the Ritz Chamber Players. Among Mr. Azikiwe’s

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prizes and awards are those from Concert Artists Guild, the North
Carolina Symphony, the National Society of Arts and Letters, and
the Epstein Young Artists Award from the Boys and Girls Clubs of
America, with whom he still maintains a strong artistic and mentoring association. Mr. Azikiwe was a visiting faculty member of Indiana
University’s Jacobs School of Music. Currently, he is on the faculty of
James Madison University, and Music Director of the Harlem
Symphony Orchestra. He has guest conducted for the Intercollegiate
Music Association, at the Gateways Music Festival, and the Trinity
Opera Company. Mr. Azikiwe has also appeared as artist faculty at
many music festivals around the world. A native of New York City,
Mr. Azikiwe studied at the North Carolina School of the Arts, New
England Conservatory, and Indiana University.
Melissa Brooks, cello
Melissa Brooks has been a member of the St. Louis Symphony
Orchestra since 1992. She is a native of New York City where she
attended the pre-college division of the Juilliard School. Ms. Brooks
received her undergraduate degree from the New England
Conservatory where she studied with Laurence Lesser. Ms. Brooks
has performed chamber and solo concerts throughout the country,
including a duo concert with cellist Janos Starker. She has won
numerous awards and honors and was nominated by Leonard
Bernstein for an Avery Fisher career grant in 1988. Melissa has
participated in summer festivals such as Marlboro, Tanglewood,
Aspen, the Portland Chamber Music Festival, Concert Artists Guild
Summer Festival, and the Sun Valley Summer Festival, among others.
Ms. Brooks appeared twice as soloist with the St. Louis Symphony
under former Music Director Hans Vonk, and also performed Pierre
Boulez’s demanding Messagesquisse, scored for solo cello and six
other cellos, under the direction of David Robertson. Her most recent
solo performances with the St. Louis Symphony included J.C. Bach’s
Symphony concertante in A, C. 34 and Haydn’s Sinfonia concertante.
She is an active chamber musician and was a co-founder of the St.
Louis based arts organization, Crossings Concerts.
Raehann Bryce-Davis, mezzo-soprano
Raehann Bryce-Davis has been hailed by the New York Times as a
“striking mezzo soprano” that “sang and spoke potently and moved
vivaciously.” And by Opera News as one who “held the stage with admirable intensity and commitment… and didn’t shy away from tapping
into notes of lust, rage, and despair that were borderline animalistic.”
Ms. Bryce-Davis is a 2012 Gerdine Young Artist at the Opera Theatre
of St. Louis. Recent roles include El Amor Brujo (Candelas) and
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La Vida Breve (Carmela) with the Manhattan School of Music Opera
Theatre, Le Nozze di Figaro (Marcellina) with Opera on the Avalon,
and selections from Il Ritorno d’Ulisse in Patria (Penelope) at the
Manhattan School of Music. In concert she premiered Four Songs for
Mezzo Soprano and Orchestra by Jacob A. Greenberg and as an alto
soloist she has performed works such as Alexander Nevsky under
Philippe Entremont, Bach’s Christmas Oratorio, Handel’s Messiah,
Vivaldi’s Gloria, Rossini’s Petite Messe Solennelle, Mozart’s Regina
Coeli, Britten’s Rejoice in the Lamb, and Durufle’s Requiem with an
ensemble from the Fort Worth Symphony Orchestra. Equally committed to the art of recital, Ms. Bryce-Davis has studied lieder with artists
such as Elly Ameling, Juilus Drake, Roger Vignoles, Barbara Bonney,
Robert Holl, Rudolf Jansen, Rudolf Piernay, and Kenneth Merrill. A
Masters candidate at the Manhattan School of Music, Ms. Bryce-Davis
is a student of Cynthia Hoffmann.
Nina Ferrigno, piano
Nina Ferrigno, described by the St. Louis Post-Dispatch as “a magnificent pianist,” has appeared in major concert venues throughout
North America. She has performed with the St. Louis Symphony,
Boston Symphony, Boston Pops, and the Boston Modern Orchestra
Project (BMOP), with whom she has been a core member since its
inception. Her festival appearances include those at Tanglewood,
Banff, Norfolk, the Skaneateles Festival, and the Coastal Carolina
Chamber Music Festival. Her appearance with members of the St.
Louis Symphony at the Pulitzer Foundation was touted as “the high
point” of the evening by the St. Louis Post-Dispatch. Ms. Ferrigno is a
graduate of New England Conservatory of Music, where she received
Bachelor and Master of Music degrees with distinction. Her principal teachers were Wha Kyung Byun and Randall Hodgkinson. As a
long-time member-director of the AUROS Group for New Music and
founding member of the Boston-based Calyx Piano Trio, Ms. Ferrigno
is committed to bringing classical music to new audiences and strives
to commission and perform new works in a variety of settings. Her
chamber music recording of Lansing McLoskey’s Tinted was released
by Albany Records in 2008.
Catherine French, violin
Violinist Catherine French is a native of Victoria, British
Columbia, where she began Suzuki studies on the violin at the age of
four. A frequent soloist, Ms. French has appeared with orchestras and
in recital throughout Canada and the United States, and made her

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Carnegie Hall debut in 1992. She has been a participant in the Portland, Lake Winnipesaukee, Marlboro, and Carolina Chamber Music
Festivals. Ms. French is a graduate of Indiana University, where she
received a Bachelor of Music degree and a Performer’s Certificate,
and the Juilliard School, where she earned a Master’s degree. Her
major teachers have included Dr. Lise Elson, Miriam Fried, Felix
Galimir, and Joel Smirnoff. Ms. French joined the violin section of the
Boston Symphony Orchestra (BSO) in September 1994. She can be
heard in the Boston area as a member of Collage New Music and the
Calyx Piano Trio, and in performance with other BSO members as
part of the Prelude concerts at Symphony Hall and other Boston area
venues.
Jennifer Lucht, cello
Jennifer Lucht, cellist, is a native of North Carolina. As a chamber
musician, she has been heard in chamber music performances at
the Kennedy Center, Weill Recital Hall, Tanglewood, the Ravinia and
Bravo! Vail Festivals, on the Greater Philadelphia Performing Artists
Series, and NPR’s live broadcast “Performance Today.” Praised for
“superb” playing by the Boston Globe and “beautiful, finely detailed
sound” by the Boston Herald, she has been concert soloist with
orchestras including the Metamorphosen Chamber Orchestra and
Vermont Symphony. Ms. Lucht is currently a member of the Calyx
Piano Trio and performs with the Boston Pops Esplanade Orchestra
in Boston and on tours throughout the US, Canada, and Japan. She is
Co-Director and a founder of the Carolina Chamber Music Festival
in New Bern, North Carolina, and can be heard in chamber music
recordings on the New World, Albany, and Archetype labels. Ms.
Lucht received her Bachelor and Masters degrees with a Performer’s
Certificate from Indiana University and continued her education with
post-graduate studies at the New England Conservatory of Music.
Her major teachers include Janos Starker, Tsuyoshi Tsutsumi,
Laurence Lesser, Colin Carr, and Carter Brey.
Lansing McLoskey, Composer-in-Residence
Lansing McLoskey (lansingmcloskey.com) has been described as “a
major talent and a deep thinker with a great ear” by the American
Composers Orchestra, “an engaging, gifted composer writing smart,
compelling and fascinating music” by Gramophone Magazine, and “a
distinctive voice in American music.” Mr. McLoskey’s music has been
performed in thirteen countries on six continents, and has won more
than two dozen national and international awards, most recently the
prestigious Lieberson Fellowship from the American Academy of Arts
and Letters, the International Music Prize for Excellence in
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Composition 2011, and the first International Joint Wind Quintet Project Commission Competition. In 2009, he became the only composer
in the 45 year history of the Illinois State University’s New Music
Festival to win both the chamber music and orchestral composition
awards; both blind-juried national competitions with two independent panels. Recent performances include premieres in Italy, Boston,
New York, Philadelphia, Cincinnati, Miami, and Melbourne, Australia,
and performances at twelve music festivals in the past year alone,
including at the 2011 soundSCAPE Festival in Italy, where he was the
Composer-in-Residence. Associate Professor at the University of
Miami, Frost School of Music, his music is released on Albany, Wergo
Schallplatten, Capstone, Tantara, and Beauport Classics.
Joanna Mendoza, viola
Violist Joanna Mendoza enjoys an active chamber music and teaching career. Noted by reviewers and audiences for a lush, sonorous
tone, and eloquent phrasing, Ms. Mendoza has performed throughout
North America, South America, and Europe and has given master
classes in Beijing, China. She has collaborated with esteemed artists
such as Tsuyoshi Tsutsumi, Anton Nel, Robert Levin, and members of
the Cleveland Quartet. She has enjoyed summers performing and
teaching at music festivals such as Interlochen Arts Camp, Madeline
Island Music Camp, Killington Music Festival, and Mammoth Lakes
Chamber Music Festival. Ms. Mendoza is the violist of the Arianna
String Quartet and Associate Professor of Viola at the University of
Missouri-St. Louis where the quartet has been in residence since
2000. The Arianna Quartet has performed throughout the United
States, Mexico, Japan, Canada, and France with recent appearances
in Brazil and South Africa. They have been praised for their “emotional commitment and fluent virtuosity” (Pretoria News) and “tonal
warmth, fastidious balance…expressive vitality” (Chicago Tribune).
The Arianna Quartet can be heard on National Public Radio’s “Performance Today” and “Live from Music Mountain” which broadcasts to
125 stations in the US and to 35 countries. Current projects include
a long-term, multi-disc recording contract with Centaur Records and
a world premiere of David Stock’s String Quartet No. 9 which the
composer dedicated to the Arianna String Quartet. Ms. Mendoza
earned her degrees from the University of Wisconsin-Madison where
she studied with members of the Pro Arte Quartet and at the Juilliard
School where she studied with William Lincer and the Juilliard Quartet. She plays a viola made by Christophe Landon in 1991.

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Maria Schleuning, violin
Maria Schleuning has been violinist for the Dallas-based
contemporary music ensemble Voices of Change since 1996, and was
appointed Artistic Director in 2009. An advocate of new music, she
has worked with many of the leading composers of our day, and has
premiered many new works, the most recent being Dream Catcher,
a solo violin work written especially for her as a gift by Augusta Read
Thomas. The world premiere performance was on May 3, 2009 in Dallas, TX. An active chamber musician, Ms. Schleuning has performed in
venues such as New York’s Alice Tully Hall, Weill Hall, Merkin Hall, and
the Museum of Modern Art, as well as numerous festivals throughout the United States and Europe. Since 1993, she has been a faculty
member at the Bowdoin International Music Festival in Maine, and
has served in the same capacity at Idyllwild Arts in California since
2007. She has recorded with Continuum in New York, as well as in
Dallas with the grammy-nominated Voices of Change, and the Walden
Piano Quartet. A member of the Dallas Symphony since 1994, she has
been featured as soloist with the orchestra on many occasions.
Other solo highlights include appearances with the Oregon
Symphony, Seattle Symphony, and with the Greater Dallas Youth
Orchestra on a tour of Eastern Europe including concerts at the
Gewandhaus in Leipzig and the Rudolfinum in Prague. She studied
with Josef Gingold at Indiana University, where she was awarded the
prestigious Performer’s Certificate; with Yfrah Neaman at the
Guildhall School in London, with a grant from the Myra Hess
Foundation; and with Joel Smirnoff at the Juilliard School, where
she received her Master’s Degree.
Robert Sheena, oboe/english horn
Since 1994, Robert Sheena has been the principal English horn player
for the Boston Symphony Orchestra (BSO) and Boston Pops
Orchestra (BPO). As a result of his mastery of his instrument, Mr.
Sheena has been honored with several premieres and appearances as
soloist with the BSO/BPO and has received much critical and
audience acclaim. He has been a featured soloist with the BSO in
Andre Previn’s Reflections for English horn, cello, and chamber
orchestra, Sibelius’s Swan of Tuonela, and Aaron Copland’s Quiet
City, a work he has also performed with the BPO. In 1998, David Alan
Miller and the Albany Symphony commissioned a work for English
horn and orchestra, Gabriel Gould’s Watercolors, expressly for Mr.
Sheena, who premiered and later recorded the piece with that

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orchestra under Mr. Miller’s direction. He gave the premiere of Dan
Pinkham’s Odes for English horn and Organ at the American Guild
of Organists convention in 1998. As a teacher of oboe and English
horn, Mr. Sheena is currently on the faculties of Boston University,
the Boston Conservatory, and the Longy School of Music. An alumnus
of the Tanglewood Music Center, he now works with TMC Fellows in
chamber music coachings and master classes at Tanglewood. Prior to
joining the BSO, Mr. Sheena performed frequently with the Chicago
Symphony Orchestra, was assistant principal oboe and solo English
horn with the Hong Kong Philharmonic Orchestra and with the San
Antonio Symphony. He received his bachelor of music degree from
the University of California at Berkeley and his master of music
degree from Northwestern University. He has studied the oboe
intensively with such masters of the instrument as Ray Still, Grover
Schiltz, William Banovetz, John Mack, and Marc Lifschey.
Angie Smart, violin
Angie Smart has been a First Violinist with the St. Louis
Symphony since 1998. Originally from England, she began violin
lessons at the age of six and won a scholarship to study at Chetham’s
School of Music at the age of 13. She continued her studies in the U.S.
in 1990 where she attended the University of Miami, Lamar
University in Texas, and completed her masters degree at Rice
University in Houston. Ms. Smart has performed extensively in Europe
and the US with representation by Encore Concerts, and has
appeared as soloist with the St. Louis Symphony, Alhambra Chamber
Orchestra, Gorton Philharmonic, Lamar Chamber Orchestra, and
both Chethams’ Chamber and Classical Orchestras. Her television
appearances have included masterclasses with Yehudi Menuhin and
as the subject of a documentary profiling “A Day in the Life of a Young
Musician at Chetham’s School of Music.” Among other masterclasses,
she has played for Midori and Zachar Bron. Ms. Smart has participated in summer festivals such as the Sun Valley Summer Festival and
the Missouri River Festival of the Arts, among others. She was a
Pro-Am Coach for MOCM during the 2011 inaugural season. Ms.
Smart has competed in the 10th International Tchaikovsky
Competition and the Yehudi Menuhin Competition, and has been a
prizewinner in many other competitions, including the British Violin
Recital Prize, Elizabeth Harper Vaughn Concerto Competition, and
the William C. Byrd Young Artists Competition.

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Calyx Piano Trio
The critically acclaimed Calyx Piano Trio features
Nina Ferrigno, piano; Catherine French, violin; and Jennifer Lucht,
cello. All seasoned chamber musicians, the members of the Calyx
Piano Trio have given chamber music concerts throughout the United
States and abroad, exciting audiences with their expressive ensemble
playing and brilliant virtuosity. As individuals, they have performed
with leading national ensembles including the Boston Symphony,
the Boston Pops, the St. Louis Symphony Orchestra, and have been
heard in chamber music performances at major festivals including
Marlboro, the Banff Centre, Ravinia, and Tanglewood. In addition
to being Trio in Residence at the Carolina Chamber Music Festival
(2008, 2009), recent appearances include those at the Sheldon
Concert Hall (MO), the James Library (MA) and the Skaneatales
Festival (NY). The Calyx Piano Trio presents dynamic programs
featuring masterworks of the repertoire and fresh pieces by living
composers. Committed to expanding the trio repertoire, the Calyx
Piano Trio has worked with organizations including the Barlow
Foundation to commission and premiere new works.

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S T E I N W AY P I A N O G A L L E R Y
Proudly supports the 2012 Missouri
Chamber Music Festival
You are cordially invited to visit Steinway Piano Gallery Saint Louis. We are home to the family of Steinway
designed pianos - Steinway & Sons, Boston and
Essex, plus Certified Rebuilt and used Steinway
pianos. We share the Steinway legacy of
fine craftsmanship with factory
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and rebuilders. Our company
specializes in carefully
prepared pianos that will appeal
to the most discriminating teachers,
students, and pianists.
• Concert piano rentals
• Steinway Certified rebuilding, tuning and repair services
• Piano teacher referral program
• No risk lease plan for beginning piano students

Supporter (continued)
Ms. Peggy Symes
Mr. and Mrs. Steve Trampe
Mr. and Mrs. Jason Weber
Mr. and Mrs. Pat Welch
A special thanks to the Webster Groves community and to the special
people that made this Festival possible:
Dr. Ray Landis and the staff of
First Congregational Church of Webster Groves
The Fabulous Women of Chamber Project St. Louis
Jennifer Lin, Public Relations/Marketing
Stanley and Arlene Browne of Robust Wine Bar
Mr. and Mrs. Mike Hanrahan
Mr. and Mrs. Paul LaFata
Madeline and Rob Longstreet
Mr. and Mrs. Kevin Reardon
Mr. and Mrs. Bob Roeder
Jan Stokes for her Marketing Expertise
The Community Music School of Webster Groves
The invaluable production support of George Yeh
Financial assistance for this project has been provided by the
Missouri Arts council, a state agency.
The Festival gratefully acknowledges the financial assistance of the
Fox Performing Arts Charitable Foundation and support from the
Regional Arts Commission.
Sponsorship and playbill advertising opportunities are available for
our 2013 Season. Please call 314.882.0053 or email us at
feedback@mochambermusic.org for more information.

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The MOCM Festival Fund
Our primary concern in developing the Missouri Chamber Music
Festival is the contribution we are making to the musical life of St.
Louis and the state of Missouri. Part of our mission is to present concerts in smaller venues to keep the excitement and immediacy of live
performance visceral for our audience members. As a result, ticket
revenue only covers a fraction of the cost of MOCM concerts, visiting
artists, commissioning projects, and the MOCM Pro-Am Intensive. We
depend on the Festival Fund to make up the difference. The Festival
Fund is maintained by area arts councils and generous individuals like
you. The MOCM Festival Fund supports program expenses including:
* artists fees
* visiting artist travel and housing expenses
* new music commissioning fees
* visiting composer residency and lecture fees
* concert space rental
* instrument rental
* recording engineers
Donor Levels
Supporter ($50 to $249)
* advance notice of special events
* recognition in the MOCM Festival program
Friend ($250 to $499)
* the benefit above
* an invitation to a MOCM dress rehearsal
Patron ($500 to $749)
* the benefits above
* two free tickets to the Festival concert of your choosing
Associate ($750 to $999)
* the benefits above
* invitation to donor â&#x20AC;&#x153;Coffee Conversationâ&#x20AC;? with festival composer
and artists
The Brahms & Beyond Circle
* the benefits above
* specially tailored benefits
Sponsor ($1,000 to $2,999)
Partner ($3,000 to $4,999)
Leader ($5,000 to $9,999)
Angel ($10,000 and above)
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Yes! I would like to experience more of MOCM.
Here is my tax-deductible donation.
Complete the information below and mail your check payable to
Missouri Chamber Music, Inc. and this form to MOCM, Inc.,
211 South Elm Avenue, St. Louis, MO 63119.
Donations can also be made at mochambermusic.org.
Questions? Call 314.882.0053.
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MISSOURI
CHAMBER
MUSIC
FESTIVAL
2013 SEASON
Save the dates!
June 14–19, 2013
Experience Stravinsky’s staged chamber music drama,
L’histoire du soldat, narrated by
St. Louis Symphony Music Director, David Robertson.
We celebrate the centenary of the premiere of
Stravinsky’s Rite of Spring with his Two Piano score.
Hear our first commission and world premiere with
a new work by Missouri’s first
Composer Laureate, Amy Beth Kirsten.
mochambermusic.org | 314.882.0053
facebook.com/MOChamberMusic
twitter @MOCMFestival